Ridley Scott's Lost Dune: Unveiling a 40-Year-Old Script

This week marks four decades since David Lynch's Dune premiered. Initially a box office disappointment, it has cultivated a devoted cult following. This stands in stark contrast to Denis Villeneuve's recent big-screen adaptation of Frank Herbert's iconic novel. Ridley Scott's involvement, preceding Lynch's, has remained largely shrouded in mystery—until now.

A 133-page draft of Scott's abandoned Dune screenplay, penned by Rudy Wurlitzer in October 1980, has surfaced. This discovery, thanks to T.D. Nguyen, sheds light on Scott's vision. Prior to Scott's involvement, Frank Herbert's own screenplay adaptation, while faithful, proved too unwieldy for cinematic adaptation. Scott, after Harlan Ellison declined the project, engaged Wurlitzer for a complete rewrite. This version, like Herbert's and Villeneuve's, was intended as the first part of a two-part epic.

Wurlitzer himself described the project as incredibly challenging, stating that structuring the narrative consumed more time than writing the final script. He aimed to capture the novel's essence while infusing a unique sensibility. Scott later confirmed the script's quality, describing it as "pretty fucking good."

Several factors contributed to the project's collapse, including the death of Scott's brother, his reluctance to film in Mexico (as De Laurentiis insisted), budget overruns exceeding $50 million, and the allure of the Blade Runner project. However, Universal executive Thom Mount highlighted a key issue: the script lacked universal acclaim.

Was Wurlitzer's adaptation a cinematic failure, or simply too dark, violent, and politically charged for a mainstream release? A detailed analysis of the script allows for a personal judgment.

A Different Paul Atreides

The script opens with a dream sequence depicting apocalyptic armies, foreshadowing Paul's destiny. Scott's signature visual density is evident in descriptions like "birds and insects become a whirling hysteria of motion." The script portrays a seven-year-old Paul, with long blonde hair, undergoing a trial by the Reverend Mother. While Lynch's version featured imagery of a burning hand, this script makes it clear these are visions, not reality.

This Paul displays a "savage innocence," a far more assertive character than Lynch's portrayal, according to Stephen Scarlata, producer of Jodorowsky's Dune. The script even includes a flash-forward showcasing Paul's transformation into a master swordsman by age 21, surpassing Duncan Idaho (who replaces Gurney Halleck in this version).

The Emperor's Demise

A pivotal twist in Wurlitzer's script is the Emperor's death, a catalyst not present in Herbert's novel. The script depicts the Emperor's funeral, a gathering of the Great Houses, and the subsequent bestowal of Arrakis upon Duke Leto. This sets the stage for the conflict with Baron Harkonnen. A key line, remarkably similar to one in Lynch's film, highlights the importance of spice: "Who controls Dune controls the Spice, and who controls the Spice controls the Universe."

The Guild Navigator and Arrakis

The script depicts the Guild Navigator as an elongated, humanoid figure, floating in a transparent container—a striking visual. The family's arrival on Arrakis showcases a medieval aesthetic, with descriptions of Arakeen echoing the style of Scott's Legend. Liet Kynes introduces Chani, and the ecological devastation caused by spice harvesting is emphasized. The flight through the desert, culminating in a worm attack, is a thrilling sequence.

The script also introduces a bar fight, a departure from the source material, where Paul and Duncan encounter Stilgar. The depiction of Arakeen as a squalid city, reflecting class disparity, is a notable addition. The scene where Jessica receives a crysknife is also present. The script includes a scene where Paul and Jessica lie on top of each other while sliding down a sand dune, though the incestuous relationship present in earlier drafts is absent.

The Desert Escape and Beyond

Paul and Jessica's escape into the desert is intense, involving a crash landing and a perilous journey. Paul's encounter with a sandworm mirrors Villeneuve's adaptation. The script details their encounter with the Fremen, the duel with Jamis, and Paul's acceptance into the tribe. The Water of Life ceremony is a surreal and visually striking scene, featuring a shaman with three breasts and a giant sandworm. The script concludes with Paul and Jessica's acceptance by the Fremen, setting the stage for future events.

A Different Interpretation

Wurlitzer's script presents a darker, more violent, and politically charged interpretation of Dune. Paul is less a reluctant hero and more an ambitious leader, potentially a dictator. The ecological and political themes are given significant weight, unlike in other adaptations. The script's deviations from Herbert's work, its graphic violence, and its mature themes likely contributed to its rejection.

The Legacy of Scott's Dune

Despite its failure to materialize, Scott and Wurlitzer's Dune script offers a unique and compelling vision. Its emphasis on ecological concerns, political intrigue, and the complexities of leadership offers a perspective absent in other adaptations. The script's boldness and ambition, while perhaps too much for its time, remain noteworthy. The script's legacy includes H.R. Giger's striking sandworm design and the involvement of Vittorio Storaro. The themes explored in the script—environmental decay, fascism, and the awakening of the oppressed—remain highly relevant today.